在中國和臺灣被認為受到日本新感覺派影響的作家施蟄存、穆時英、巫永福、翁鬧的小說作品中，往往能在城市背後窺見鄉土的影子。故本文嘗試以兩岸新感覺小說中的城鄉意象作為橫切面，疊合起一九三○年代租界區上海和殖民地臺灣的對話空間。第二、三章先分別以兩岸新感覺小說中的城鄉意象作初步分析，再於第四章將前兩章的研究成果並置，比較兩岸新感覺小說異同之處，最後第五章結論以另類現代性的角度重新審視日本新感覺派於兩岸的在地化演變與時代意義：中國新感覺小說已進入美學現代性對城市文明的反動，中國作家相對穩固的民族立場和租界區自由的言論空間，也使小說有著較鮮明的左翼色彩，而在施蟄存和穆時英以中國鄉土為背景的小說中，亦承接了新感覺時期的寫作特色，呈現出現代主義與寫實主義的擺盪或交融的特色，顯現出不能被單一侷限的關注視角；臺灣新感覺小說充滿了啟蒙現代性對科技進步的崇拜，不自覺落入殖民者「日本文明」／「臺灣野蠻」的二元視角，面對殖民統治下文化斷裂的處境，小說充滿著民族歸屬的思考，巫永福和翁鬧在以臺灣鄉鎮為背景的小說中所塑造出的臺灣形象，正可以解釋他們東京書寫中所隱含的「被殖民者」的視角和其所抗拒卻始終徘徊不去的故鄉召喚。;In the novels written by Shi Zhicun, Mu Shiying, Wu Yongfu and Weng Nao, who were influenced by the Japanese Neo Sensation School, we can often notice the rural imagery in the urban setting. This paper will present the urban and rural imagery in the Neo Sensation novels in China and Taiwan to enable the discussion between Shanghai International Settlement and Colonial Taiwan in the 1930s. In Chapter 2 and 3, we will have an initial analysis of the urban and rural imagery in the Neo Sensation novels in China and Taiwan. The similarities and differences between them will then be discussed in Chapter 4. Finally, in Chapter 5, the paper will conclude from the perspective of “alternative modernity” to re-examine the localization and the significance of the Japanese Neo Sensation School in in China and Taiwan. In the Neo Sensation novels in China, we can observe the emergence of “aesthetic modernity” and the resistance of civilization. The relatively firm nationality standpoint of the Chinese writers and the freedom of speech in Shanghai International Settlement both make the novels more left-wing. Shi Zhicun and Mu Shiying take on the writing style of Neo Sensation in their novels with the countryside as the background, displaying a unique writing style that mixes the modernism with the realism. As for the Neo Sensational Novels in Taiwan, they are filled with “enlightening modernity”, which tends to worship the progress of science and technology. Thereby, they unconsicously fall into the binary opposition of “civilized Japan vs uncivilized Taiwan”. Situated in a time of cultural rupture caused by Japanese colonization in Taiwan, their novels are full of reflections on national belonging. The Taiwan image which is shaped in Wu’s and Weng’s novels with the background of the countryside in Taiwan can perfectly explain the “colonized” perspective and the resisted but lingering call of the homeland hidden in their novels with Tokyo city as the background.
